The Cleveland State University Department of Music introduced the CSU Chamber Winds and Wind Ensemble in the Waetjen Auditorium on Friday, Nov. 14. An audience gathered for an incredible night of talent and music.
The CSU Chamber Winds opened the concert with a piece entitled “Reflections on a 16th Century Tune” by Richard Rodney Bennett. The piece was commissioned by the European String Teachers Association for Strings 99, an international conference held in celebration of string playing and teaching. The piece was originally written for a large string ensemble, but has since been transcribed for other ensembles large or small.
The CSU Wind Ensemble welcomed guest conductor, Maestro Timothy Reynish, to conduct “Duende” by Luis Serrano Alarcon.
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Alarcon stated, “I want to reflect in a symbolic way where our Spanish society stands for nowadays…”. The term Duende is used to refer to a “a state of inspiration and supreme perceptiveness…”.
The Wind Ensemble presented the piece with a wonderful sense of musical accuracy. Each performer and soloist communicated the music to the audience extending the vision from the composer. They worked to keep the audience engaged and interested throughout the total of the 18 minute piece, which can sometimes be hard.
Additionally, Dr. Birch Browning, Associate Professor of Music Education and Director of Bands at CSU, directed a piece entitled “Give Us This Day (Short Symphony)” by David Maslanka. Browning described the piece as “being infused with a sort of religious ecstasy”.
“Give Us This Day” is a two movement, fourteen minute piece. Maslanka received inspiration from the Buddhist idea that “a future for the planet is only possible if individuals become deeply mindful of themselves and deeply connected to who they are”, and “Music makes the connection to reality, and by reality I mean a true awakeness and
On November 16th, 2013, I attended a concert choir, fall choral concert. This event took place on the Wheaton College Campus, in the Edman Chapel at 7:30 pm. The chapel was well-lit, with long pews for the audience to be seated. The concert began with the audience looking up into a balcony, where the ensemble stood in neat rows. They watched the conductor, who stood on a stage in front of the audience, waiting for their cue.
Ft. Lauderdale, FL: Meredith Music Publications. Goldman, E. F. (1961) The Wind Band. Boston, MA: Allyn and Bacon, Inc. Miles, R. (1997) Teaching Music through Performance in Band.
Thursdays at Cal State L.A. seemed like any other typical day- warm, busy, and tiring. However, on December 2, 2015, something was particularly different; not only was it the last day of class before finals, but there was also a Mariachi concert directed by Cynthia Reifler Flores. As I was walking towards the State Playhouse, I thought about how the music would be composed. The first thing that I expected was the music to have a quick, upbeat tempo, something that would be played at a festival or a party. I walked through the screen door and was given a pamphlet. In it contained detailed information about their programs, musicians, Flores’ biography, and the prodigious mariachi group. After waiting for what seemed like an eternity, the doors
The concert is performed by the Lincoln Center Orchestra with Wynton Marsalis. The video of this concert is 90 minutes in length. The concert was an ensemble of various Dave Brubeck arrangements utilizing various jazz techniques and styles with mainly the following instruments: bass, piano, trumpet, trombone, tenor sax, soprano sax, clarinet, bass clarinet, alto sax, flute, piccolo, baritone sax, drum, and tambourine. The performance included these 15 pieces: “Unsquare Dance”, “Three to Get Ready”, “The Duke”, “Cassandra”, “Strange Meadowlark”, “Who Will Take Care of Me?”, “It’s a Raggy Waltz”, “Tokyo Traffic”, “Take Five”, “Lost Waltz”, “Upstage Rhumba”, “In Your Own Sweet Way”, “Fast Life”, “Bluette”, and “Blue Rondo a la Turk”. The performance highlights the versatile, influential and extraordinary life’s work of Dave Brubeck.
On Saturday, February 22 the Illinois Symphony Orchestra performed their first program of their 2014 season at Sangamon Auditorium conducted by Alastair Willis. The program was called “Shimmering Shakespeare” because the second act was made up of movements from the ballet, Romeo and Juliet. The first half of the performance was a percussion concerto with a featured guest artist, Joseph Gramley. The performance used all of the traditional orchestra instruments but there were extra emphasis on the percussion ones. The Illinois Symphony Orchestra used a variety of classical music and collaborations with outside groups and organizations to create an entertaining and unique program.
Eastern Washington University Department of Music presented a program of Opera works by Giacomo Puccini, Aron Copland, W.A. Mozart, John Dowland, Franz Shubert, Maurice Ravel, and Robert Schumann on Friday, March 7, 6:30 p.m., in the Music Building, Recital Hall. These Opera works were sung by Senior Recitalist, Alexandra Rannow.
When society envisions a Wind Ensemble, talented musicians, grand music halls, and difficult arrangements typically come to mind. However, a modern-day Wind Ensemble includes a variety of musicians,
On Friday, November 15, 2013, I attended a concert that I found very interesting. It took place at 7:30 pm at the First Presbyterian Church of the Covenant. The group performing was the Erie Chamber Orchestra, but as a special the Slippery Rock University Concert Choir was also there. During the performance I attended, two pieces were performed. The first was a Mozart piece by the name of Symphony No. 41.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
...re about us today, and the interpretation of these people is our future music.” (Haskins, 74)
On Sunday afternoon November 21, 1999, at 2:00 p.m.at 419th Concert Worldwide, 330th in New York, 218th in Carnegie Hall I attended a MidAmerica production that presented the New England Symphonic Ensemble. This concert contained several different compositions by large groups of musicians, including an orchestra band, and chorus. This concert was divided into three different parts. First there was the Vivaldi which was divided into 12 sections. Virginia-Gene Rittenhouse was the music director, Raymond Sprague was the conductor, Judith Von Housers Voice was the soprano, Mary Nessinger voice was the Mezzo soprano, and Elizabeth Hastings was the portative. There was a reprise in the first section Gloria which opened up the symphony.
...ked throughout the concert. The pacing of the selections seemed appropriate. No piece sounded like the one before it. There was a great variety of songs played. There were songs played that were written by famous jazz composers and songs played that were written by some of the performers themselves. This added to the excitement of the show.
The Symphony Orchestra concert was preformed by The OU School of Music with Jonathan Shames as a conductor and they presented Sutton Concert Series. In addition, the Orchestra concert performed at Paul F. Sharp Concert Hall in October 12, 2015.There were like forty-one performers on the stage including the conductor using different types of instruments and and all of them were wearing a nice black clothes. The stage was a quite large with wooden floor and there were two floors for the audience with a comfortable seating. However, all the performers were on round shape and against the conductor.
Smith, Jane Stuart and Betty Carlson. “The Gift of Music: Great Composures and Their Influence.” Wheaton, Illinois: Crossway Books Publishing. 1987. Print.
'It seems to me, my dear friend, that the music of this ballet will be one of my best creations. The subject is so poetic, so grateful for music, that 1 have worked on it with enthusiasm and written it with the warmth and enthusiasm upon which the worth of a composition always depends." - Tchaikovsky, to Nadia von Meck.